Flipping Their Lids: Bob Clampett’s Legacy Goes to Auction

Bob Clampett’s life (1913–1984)—along with his vast collection of drawings, photographs, books, and ephemera—mirrors the history of American animation. Following a public exhibition that runs through March 20, Van Eaton Galleries will present The Bob Clampett Auction, a two-day event on March 22 and 23.

This is an original photostat model sheet for the Merrie Melodies cartoon “A Tale of Two Kitties.” This cartoon features the first appearance of Tweety Bird, here named “Orson.” The original title “Babbit & Catstello” references the comedy team Abbott and Costello, the inspirations for the characters, and the sheet includes their portraits.

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The collection spans Clampett’s extraordinary 50-year career and then some, with everything from childhood drawings to his posthumous Annie award from 1988. He worked with pop culture icons like Walt Disney, Dr. Seuss, and Edgar Rice Burroughs.

An original hand-painted production cel of Horton and a background from the Merrie Melodies short “Horton Hatches the Egg.”

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However, one of his most incredible legacies may be in the Looney Tunes and Merrie Melodies shorts, where, as an animator and director for Warner Bros., he helped bring to life some of the most beloved cartoon stars—Porky Pig, Daffy Duck, Bugs Bunny, and Tweety Bird.

This is an original multi-layer production cel of Bugs Bunny reading “Victory Through Hare Power” from the Merrie Melodies short “Falling Hare,” directed by Bob Clampett.

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After leaving Warner Bros., Clampett shifted his talents to television, creating the puppet show “Time for Beany,” which aired locally in Los Angeles beginning in 1949 and nationwide on the Paramount Television Network from 1950 to 1955. It was a three-time Emmy winner for Outstanding Children’s Program. “Time for Beany” wasn’t just a children’s show—it captivated some of the era’s biggest names. Albert Einstein was rumored to have stopped working daily to watch, and Groucho Marx praised it as the only show adult enough for his daughter. Jimmy Stewart even lobbied to keep its airtime unchanged, while Lionel Barrymore, banned from watching television on set, sent his chauffeur to a bar to relay the latest plot developments.

This is a promotional photo for Hood’s Ice Cream featuring the Beany and Cecil puppet characters.

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He later adapted it into its animated successor, “Beany and Cecil.” Millions of children across America sat cross-legged in front of their televisions, their propeller hats spinning with anticipation, ready to flip their lids over the latest adventures of Beany and Cecil. The show became popular among children and adults, garnering a strong cult following. The show was unexpectedly urbane, weaving topical and political references between the groan-worthy puns. Like the best children’s entertainment, it was clear the writers were crafting it for their own amusement as much as for the kids.

This is an original hand-painted production cel from “Beany and Cecil” signed by Bob Clampett.

Van Eaton Gallery and Auctions

In addition to drawings and animation art by Clampett, the auction includes books of the cartoons from the 1910s and ’20s that inspired him, gifts from his friends and collaborators, photographs of studio staff, and plenty of “Beany and Cecil” toys, advertisements, and screen-used puppets.

Every child of the 1960s wanted their own official Beany Propeller Cap.

Van Eaton Gallery and Auctions

According to Van Eaton Galleries, the auction will also feature “rare pop culture and Disneyana treasures,” including a ‘Gertie the Dinosaur’ production drawing, a Charlie McCarthy stop-motion armature, and the personal scrapbook of Disney Legend Carl Stalling—an irresistible mix of animation history and one-of-a-kind memorabilia.